Even though Fichte’s Reden an die deutsche Nation or Addresses to the German Nation is arguably one of the founding texts of nationalist political thought, it has received little scholarly attention from English-speaking political theorists. The French, by contrast, have a long tradition of treating Fichte as a central figure in the history of political thought, and have given considerable attention to the Reden in particular. While the dominant French interpretation, which construes the Reden as a non-ethnic cultural nationalist text, (...) provides a welcome corrective to those who impute unmediated ethnic nationalism to Fichte, it is ultimately flawed for missing the text’s crypto-ethnic character. While Fichte officially defines nationality in terms of language and culture, his linguistic-cultural nationalism ultimately collapses into ethnic nationalism. This collapse, signalled by his appeals to Abstammung and Abkunft, is propelled by the fact that, ultimately, the appeal to language and culture is incapable of securing immortality, which is the supposed source of the nation's motivational power for Fichte. (shrink)

The following paper argues that J.G. Fichte, despite his apparent philosophical neglect of art and aesthetics, does develop a strong, original, and coherent account of art, which not only allows the theorization of modern, non-representative art forms, but indeed anticipates Nietzsche and Heidegger in conceiving of truth in terms of art rather than scientific rationality. While the basis of Fichte’s philosophy of art is presented in the essay “On Spirit and Letter in Philosophy,” it is not developed systematically either in (...) this text or anywhere else in his writings, but must be reconstructed through a broad consideration of all his works, including, above all, his political and economic writings. For Fichte, the art-work does not exist as an object possessing “aesthetic value” and which can, in turn, be possessed, consumed, and enjoyed through the subjective act of aesthetic experience. Rather, it involves a mode of praxis which, grounded in a radical and original power of imagination, creatively discloses possibilities for future forms of existence, experience, and political community that cannot be theoretically anticipated. While Fichte cannot himself theorize specific forms of art, since the art that concerns him belongs to the future, we can, however, retrospectively try to understand non-representational painting and non-mimetic dance as concrete realizations of Fichte’s art-work of the future. In this way, Fichte’s philosophy of art ultimately suggests an alternative to Heidegger’s understanding of the work of art as a projective institution of truth. Fichte suggests that the human body, rather than human language, is the fundamental medium of art. (shrink)

The conception of subjectivity that dominates the Western philosophical tradition, particularly during the Enlightenment, sets up a simple dichotomy: either the subject is ultimately autonomous or it is merely a causally determined thing. Fichte and Freud challenge this model by formulating theories of subjectivity thattranscend this opposition. Fichte conceives of the subject as based in absolute activity, but that activity is qualified by a check for which it is not ultimately responsible. Freud explains the behavior of the self in terms (...) of biological drives and social pressures, yet both forces are actively interpreted by the subject itself. The tensions that arise from these very different approaches show that both Fichte and Freud are trying to overcome this deeply imbedded dichotomy between freedom and determinism. Although some would respond to these tensions by trying to forge a Hegelian synthesis, such a resolution covers over the paradoxical nature of finite subjectivity. (shrink)

Isaiah Berlin's celebrated radio lectures on six formative anti-liberal thinkers were broadcast by the BBC in 1952. They are published here for the first time, fifty years later. They comprise one of Berlin's earliest and most convincing expositions of his views on human freedom and on the history of ideas--views that later found expression in such famous works as "Two Concepts of Liberty," and were at the heart of his lifelong work on the Enlightenment and its critics. Working with BBC (...) transcripts and Berlin's annotated drafts, Henry Hardy has recreated these lectures, which consolidated the forty-three-year-old Berlin's growing reputation as a man who could speak about intellectual matters in an accessible and involving way. In his lucid examination of sometimes complex ideas, Berlin demonstrates that a balanced understanding and a resilient defense of human liberty depend on learning both from the errors of freedom's alleged defenders and from the dark insights of its avowed antagonists. This book throws light on the early development of Berlin's most influential ideas and supplements his already published writings with fuller treatments of Helve;tius, Rousseau, Fichte, Hegel, and Saint-Simon, with the ultra-conservative Maistre bringing up the rear. These thinkers gave to freedom a new dimension of power--power that, Berlin argues, has historically brought about less, not more, individual liberty. These lectures show Berlin at his liveliest and most torrentially spontaneous, testifying to his talents as a teacher of rare brilliance and impact. Listeners tuned in expectantly each week to the hour-long broadcasts and found themselves mesmerized by Berlin's astonishingly fluent extempore style. One listener, a leading historian of ideas who was then a schoolboy, was to recount that the lectures "excited me so much that I sat, for every talk, on the floor beside the wireless, taking notes." This excitement is at last recreated here for all to share. (shrink)